2 edition of Music is the weapon: Music as an anti-colonial tool for Aboriginal people in Toronto. found in the catalog.
Music is the weapon: Music as an anti-colonial tool for Aboriginal people in Toronto.
Kerry L. Potts
Written in English
This thesis examines how music can function as an anti-colonial weapon. By adopting an Indigenous anti-colonial framework, this thesis critically examines how music as a public medium can transgress dominant, racist narratives and create powerful avenues through which Aboriginal identity can be articulated and experienced by Aboriginal people. Ten formal interviews were conducted with Aboriginal musicians, traditional singers, and behind the scenes music industry people involved with the Aboriginal community of Toronto. Interview candidates included singers from local drum groups, such as Eagle Heart Singers, Red Spirit Singers, Morning Star River, and Spirit Wind. Award winning musicians such as Lucie Idlout, Leela Gilday, and Derek Miller also contributed their insights, as well as the founder of Rez Bluez, Elaine Bomberry. These interviews uncovered that, within Toronto, music is building vital connections to Aboriginal cultures, generating visibility of contemporary Aboriginal identities within public realms, and fostering relationships between Black and Aboriginal communities through musical genres such as blues and hip-hop. Overall, this thesis argues that music has the potential to be a revolutionary tool that Aboriginal people can use to decolonize themselves and their nations.
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This thesis is a critical comparative study of the ways in which music is being used as an educational tool for HIV/AIDS in Sub-Saharan Africa, Brazil, India, China, the U.S., and Canada. Music for education is an aspect of a number of academic disciplines.
I introduce the principles of Entertainment-Education and Participatory Communication, which are two methods of Cited by: 1. Ministry of Education policy guidelines (e.g., ) call upon educators in Ontario to include cultural knowledge and perspectives of First Peoples in their school practice, and recent provincial arts curricula encourage inclusion of and instruction on music and related knowledge of Aboriginal Peoples.
But mainstream music teachers commonly lack knowledge about music. These practical implications emerge from the experiences of four Toronto teachers who participated in a multiple case study on social justice and anti-racist work in music Author: Juliet Hess.
The book challenges the human exceptionalism that has allowed musicologists to overlook music’s structural resemblances to the songs of nonhuman species, the intricacies of music’s physiological impact on listeners, and the many analogues between music’s formal processes and those of the dynamic natural world.
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Indigenous peoples in Canada, also known as Aboriginal Canadians (French: Canadiens Autochtones) or by the initialism FNIM (First Nations, Inuit, Métis), are the indigenous peoples within the boundaries of Canada.
They comprise the First Nations, Inuit and Métis. Aboriginal and Torres Strait Islander people are advised that this book contains images of people who have passed away, and historical correspondence with terminology that is no longer accepted usage.
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