자료유형  

 학위논문

Control Number  

0017164486

International Standard Book Number  

9798384044482

Dewey Decimal Classification Number  

700

Main Entry-Personal Name  

VanderBeek, Conner Singh.

Publication, Distribution, etc. (Imprint  

[S.l.] : University of Michigan., 2024

Publication, Distribution, etc. (Imprint  

Ann Arbor : ProQuest Dissertations & Theses, 2024

Physical Description  

288 p.

General Note  

Source: Dissertations Abstracts International, Volume: 86-03, Section: A.

General Note  

Advisor: Lam, Joseph.

Dissertation Note  

Thesis (Ph.D.)--University of Michigan, 2024.

Summary, Etc.  

요약Public arts in Canada are conceptualized as a reflection of the multicultural character of the country and the diversity of ethnocultural identities it hosts. Within the framework of multiculturalism, however, the Canadian state only recognizes two, sometimes three, official cultures: Anglophone, Francophone, and Indigenous. South Asians represent over 26% of the visible minority in Canada. Among South Asians in Canadian, Punjabis are the leading ethno-linguistic group, yet their place in Canadian culture, history, and heritage remains the subject of debate across the country, its provinces, and its urban centers.This dissertation examines historical, political, and social factors that generate power imbalances between Canadian public arts institutions pursuing diversity-based programming and diasporic Punjabi artists and musicians who face tokenism, essentialism, and censure as they find space within public arts. The goal of this project is to contribute to, through breakdown and analysis of the Canadian public art world, understandings of how visual art and musical expressions by racialized and diasporic artists are converted by the state and its public arts system into symbols of flattened ethnic identity and of multicultural diversity.Drawing from Arjun Appadurai's theory of -scapes (1996), Sara Ahmed's interrogation of institutionalized diversity (2012), Deborah Root's (1996) and Deleuze and Guattari's (1972) explorations of deterritorialization, and Howard Becker's notion of art worlds (1982), I propose a structure of public arts -scapes that breaks Canadian public arts into five dynamic and multiscalar fields of activity: of policy, funding, curation, exhibition, and composition. I argue that Canadian public arts, as an economic and cultural sector, is built on a complex web of tactical negotiations and power struggles among and between agents and stakeholders of these five -scapes. Agents in each -scape use their involvement in public arts as performative proof of their societal aims, even if these outcomes contradict and/or hinder the production of artists' works and the aims outlined in other -scapes.The introductory chapter of this project offers a historical, contextual, and theoretical review of multiculturalism and musicological writings on hybridity before introducing my theory of -scapes. Chapter two provides histories of Canadian immigration policy, of the national image and the development of multiculturalism, of the development of the Canadian public arts system, and of Punjabi migration to Canada alongside these developments. Chapter three examines two case studies of COVID-19 era top-down public arts projects in Toronto and Vancouver: (1) an all-Sikh public exhibition, titled chashm-e-bulbul (Eye of the Nightingale), in Toronto's Bayview Village, held in fall of 2021 as part of the city's Year of Public Art, and (2) digital programming commemorating the 50th anniversary of Vancouver's Punjabi Market. Chapter four examines two grant-funded world music albums released by diasporic South Asian artists in Vancouver: sitarist and composer Mohamed Assani's Wayfinder (2020) and rapper and emcee Ruby Singh's Jhalaak (2020), a hip-hop collaboration with 19th generation qawwali/folk musicians from Rajasthan, India. Chapter five introduces models of exclusion and backdoor acceptance into Canadian arts through the example of Punjabi gangster music, a violent subgenre of Punjabi popular music. Using the music of late rapper Sidhu Moose Wala and lyricist and singer Chani Nattan, I show how the genre is portrayed by the Canadian government and media apparatus as a sign of a delinquent ethnic subject that must be disciplined to fit into society.

Subject Added Entry-Topical Term  

Fine arts.

Subject Added Entry-Topical Term  

Music.

Subject Added Entry-Topical Term  

Asian American studies.

Subject Added Entry-Topical Term  

Performing arts.

Index Term-Uncontrolled  

Ethnomusicology

Index Term-Uncontrolled  

Multiculturalism

Index Term-Uncontrolled  

Diaspora

Index Term-Uncontrolled  

Cultural studies

Index Term-Uncontrolled  

Diversity studies

Added Entry-Corporate Name  

University of Michigan Music: Musicology

Host Item Entry  

Dissertations Abstracts International. 86-03A.

Electronic Location and Access  

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Control Number  

joongbu:653804